1. Key Relationships
AP MUSIC THEORY 2014

2. Mode Mixture Combining keys from MAJOR and PARALLEL MINOR OR
Mixing the PARALELL MAJOR and MINOR MODES use flat3, flat6, flat 7

3. Mixture Chords in Minor
Borrow or MIX chords from parallel minor when in minor tonality
Reflects RAISED 7th SCALE DEGREE of harmonic form
Dominant chord: minor v to major V – Leading Tone chord: VII to viidim
Common practice: Picardy third (altering the 3rd of the chord)

4. MODULATION
WHEN?
Consistent reoccurance of same accidentals
IF RNA has atypical progressions in current key
THEN…
Shifting tonal centers
Defined: Process of moving from one tonal center to another, with or without changing the key signature

5. MODULATION Temporary tonicization DIFFERENCE?
Temporary sense of new tonic
Addition of 1 or 2 non-diatonic chords
DIFFERENCE?
Simply passing through (region OR area)
Modulation: convincing cadence AND significant time in a new key (larger area of work)

6. MODULATION Stages Closely related keys = common chords
Establish the first key
The modulation device
Establishment of new tonal center
Closely related keys = common chords
Each key has 5 closely related keys (Differ by no more than 1 accidental)
Relative major or minor
The key with one more sharp or flat and its relative
The key with one less sharp or flat and its relative

7. MODULATION Within a phrase is the “common chord” or “pivot modulation”
Pivot chord: diatonic to BOTH keys
Common Chord: ii or IV in NEW key
Where the tonality shifts JUST BEFORE accidental or altered chord
Direction modulation
No use of common chord
Chromatic modulation – direct modulation occurs WITHIN a phrase (chromatically altered note in SAME VOICE)
Phrase modulation – direct modulation BETWEEN phrases

8. EXAMPLES P